At first glance, it would appear that the artists Gregor Eldarb and Friedrich Biedermann do not have too much in common. Where Eldarb’s constructivist pictures draw on the formal repertoire developed by modernism, Biedermann’s work revolves around the topic of light, which he analyzes by means of filters, refractors and mirrors. One thing, however, that these very different artists do in fact share is a passionate interest in space. Austerely abstract and geometrical though they may seem, on closer inspection Eldarb’s drawings reveal a strongly performative approach: the spaces he designs provide an environment for the human body, and his lines need to be read as the traces of human movement. With the plexiglass cases created by Biedermann, vectorial partition, which literally cuts through the surrounding space, plays a much larger role than it does for Eldarb. Biedermann’s aesthetics are grounded in a highly conceptual method, as can be seen for instance in his sculpture Cold, where the titular word unfolds inside the sculpture through a series of mirrorings. Incidentally, a penchant for incorporating linguistic elements in their works is another thing the two artists have in common, since in Eldarb’s pictures, too, language plays an important part, mostly in the form of poetic fragments, abstract puns and experimental narratives. Speaking of narratives: Biedermann’s The End, which makes playful reference to the number of frames per second in movies, aims to ring in the end of conventional narrative.